The review of the Twin Peaks musical archives continues with episode 7, which focuses on tracks 143 to 170.
With Laura’s murder solved and her essence gone from the show, the music loses some of its sensitivity and darkness. The storm has gone and now we’re left with the shells and debris. The music takes its time to recover from the drama and we get lighter versions of a lot of cues. From the already familiar themes, we get a beautiful harp version of the “Twin Peaks theme” and a not as haunting as I would have hoped flute version of “Audrey’s prayer”. Audrey is still present with three versions of her dance (the isolated clarinet, flute and saxophone parts).
With the girls and Cooper taking a background role, we get new themes for characters like Wheeler, Window Earle or Ben. Most of them are jazzy and I can’t say they were very special to me. Actually, this entire section of the score sounds like a soft jazz intermission. The big band tempo continues with four cues taken from the Miss Twin Peaks contest. These tracks represent the lighter part of Twin Peaks, once which I don’t find very exciting after the powerful and intense emotions the dark side of Twin Peaks gave me for 140 cues.
But Twin Peaks is still there, the mystery is still there, and the 9 minute suite “Dark Mood Woods (studio version)” leaves the party echoes somewhere far away and focuses of the uncomfortable and ethereal atmosphere we’ve gotten used to. The full version of this track is even more depressing. The jazz turns dark as well in the infamous “The red room”, as we start getting familiar with the other world…
…to be continued…
Laura Palmer’s Theme (Caroline)
Twin Peaks Theme (Harp)
Audrey’s Prayer (Flute)
Dark Mood Woods (studio version)
Dark Mood Woods (full version)
The Red Room
Audrey’s Dance/Dance of the Dream Man (Clarinet)
Audrey’s Dance/Dance of the Dream Man (Flute)
Audrey’s Dance/Dance of the Dream Man (Saxophone)